“I would regard myself as a feminist writer, because I’m a feminist in everything else and one can’t compartmentalise these things in one’s life.” (Angela Carter) “When I became a feminist in 1968, I felt that I’d come home: the first home I ever had that was feminine. And it was very wild and theatrical and erotic, the early feminism.” (Michèle Roberts) Angela Carter and Michèle Roberts share a keen interest in gender and sexual identity, but many of their topics seem to mark them as opposites: Roberts’s fascination with the impact of religion, motherhood and autobiography on female identity covers areas that Carter shuns in her writings. In reading these two authors parallel and in contrast to each other, this monograph follows a triple objective: it provides a comprehensive critical introduction to the works of Roberts, explores aspects of Carter’s work that have not yet been analyzed sufficiently (religion, motherhood, and masculinity), and uses both authors to explore motifs and strategies of feminist writing. The analyses of both authors’ works are supplemented by close readings of a wide range of theoretical perspectives (especially French feminism and psychoanalysis) and concise theoretical outlines of the topics covered (radical feminism, religion, motherhood and fatherhood, masculinity, fairy tales, romances and chick lit, and history and auto/biography).
Germany fought three major colonial wars from 1900 to 1908: the Boxer War in China, the Herero and Nama War in Southwest Africa, and the Maji Maji War in East Africa. Recently, historians have emphasized the role of German military culture in shaping the horrific violence of these conflicts, tracing a line from German atrocities in the colonial sphere to those committed by the Nazis during World War II. Susanne Kuss dismantles such claims in a close examination of Germany’s early twentieth-century colonial experience. Despite acts of unquestionable brutality committed by the Kaiser’s soldiers, she finds no direct path from Windhoek, site of the infamous massacre of the Herero people, to Auschwitz. In German Colonial Wars and the Context of Military Violence Kuss rejects the notion that a distinctive military culture or ethos determined how German forces acted overseas. Unlike rival powers France and Great Britain, Germany did not possess a professional colonial army. The forces it deployed in Africa and China were a motley mix of volunteers, sailors, mercenaries, and native recruits—all accorded different training and motivated by different factors. Germany’s colonial troops embodied no esprit de corps that the Nazis could subsequently adopt. Belying its reputation for Teutonic efficiency, the German military’s conduct of operations in Africa and China was improvisational and often haphazard. Local conditions—geography, climate, the size and capabilities of opposing native populations—determined the nature and extent of the violence German soldiers employed. A deliberate policy of genocide did not guide their actions.
Das neue Wiener Pratermuseum – die Publikation zur Ausstellung Mitten im Zentrum des Wiener „Wurstelpraters“, am Standort einer ehemaligen Spielhalle, entsteht 2024 das neue Pratermuseum, einer der ersten öffentlichen Holzbauten Wiens. Der Wiener Prater als traditionsreicher Ort des Freizeitvergnügens ist ein besonderer Sammlungsschwerpunkt des Wien Museums. Neben Originalobjekten – darunter Ringelspielfiguren, Teile einer Grottenbahn, frühe Spielautomaten und Kasperlfiguren – umfasst die Prater-Sammlung Pläne, Modelle, Fotos, Eintrittskarten, Programmhefte, Plakate sowie Kunstwerke. Das Buch stellt die Highlights der mehr als 300 Objekte des neuen Pratermuseums vor. Es geht um die großen Themen des modernen Lebens – das Verhältnis von Natur und Stadt, Mensch und Tier, moderner Technik und menschlichem Körper. Der Katalog zur Ausstellung des neuen Pratermuseums des Wien Museums Erscheint gemeinsam mit dem Aufsatzband Der Wiener Prater. Labor der Moderne anlässlich der Eröffnung des neuen Wiener Pratermuseums im März 2024 Mit zahlreichen großformatigen Abbildungen
A travel series unlike any other, Insight Guides go beyond the sights and into reality. Their incomparable photojournalistic approach captures the uniqueness of each culture they cover: their traditions, their arts, their history, their lives. The stunning photography is married to compelling text, written by local writers; the people most qualified to convey their culture's "secrets".Yes, Insight Guides will tell you which attractions to visit, but they'll also tell you a whole lot more. From the most popular resort cities to the world's most remote and exotic villages, Insight Guides will give you the insider's perspective you need to truly experience any destination you visit.Insight Guides serve many purposes. They are ideal for planning a trip. And, they're wonderful souvenirs to treasure for years after. Even the armchair traveler can be swept away by their magnificent content and experience the world from the comfort of home.Many international and domestic and domestic destinations also offer companion FlexiMaps, an innovative laminated folding map specially designed for the discriminating traveler.
I would regard myself as a feminist writer, because I'm a feminist in everything else and one can't compartmentalise these things in one's life." (Angela Carter) "When I became a feminist in 1968, I felt that I'd come home: the first home I ever had that was feminine. And it was very wild and theatrical and erotic, the early feminism." (Michèle Roberts) Angela Carter and Michèle Roberts share a keen interest in gender and sexual identity, but many of their topics seem to mark them as opposites: Roberts's fascination with the impact of religion, motherhood and autobiography on female identity covers areas that Carter shuns in her writings. In reading these two authors parallel and in contrast to each other, this monograph follows a triple objective: it provides a comprehensive critical introduction to the works of Roberts, explores aspects of Carter's work that have not yet been analyzed sufficiently (religion, motherhood, and masculinity), and uses both authors to explore motifs and strategies of feminist writing. The analyses of both authors' works are supplemented by close readings of a wide range of theoretical perspectives (especially French feminism and psychoanalysis) and concise theoretical outlines of the topics covered (radical feminism, religion, motherhood and fatherhood, masculinity, fairy tales, romances and chick lit, and history and auto/biography).
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